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Love's Labor's Lost Folger Shakespeare Library https://shakespeare.folger.edu/ Get even more from the Folger You can get your own copy of this text to keep. Purchase a full copy to get the text, plus explanatory notes, illustrations, and more. Buy a copy Contents From the Director of the Folger Shakespeare Library Front Textual Introduction Matter Synopsis Characters in the Play Scene 1 ACT 1 Scene 2 ACT 2 Scene 1 ACT 3 Scene 1 Scene 1 ACT 4 Scene 2 Scene 3 Scene 1 ACT 5 Scene 2 From the Director of the Folger Shakespeare Library It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own. Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as The Folger Shakespeare (formerly Folger Digital Texts), we place a trusted resource in the hands of anyone who wants them. The New Folger Editions of Shakespeare’s plays, which are the basis for the texts realized here in digital form, are special because of their origin. The Folger Shakespeare Library in Washington, DC, is the single greatest documentary source of Shakespeare’s works. An unparalleled collection of early modern books, manuscripts, and artwork connected to Shakespeare, the Folger’s holdings have been consulted extensively in the preparation of these texts. The Editions also reflect the expertise gained through the regular performance of Shakespeare’s works in the Folger’s Elizabethan Theatre. I want to express my deep thanks to editors Barbara Mowat and Paul Werstine for creating these indispensable editions of Shakespeare’s works, which incorporate the best of textual scholarship with a richness of commentary that is both inspired and engaging. Readers who want to know more about Shakespeare and his plays can follow the paths these distinguished scholars have tread by visiting the Folger either in-person or online, where a range of physical and digital resources exists to supplement the material in these texts. I commend to you these words, and hope that they inspire. Michael Witmore Director, Folger Shakespeare Library Textual Introduction By Barbara Mowat and Paul Werstine Until now, with the release of The Folger Shakespeare (formerly Folger Digital Texts), readers in search of a free online text of Shakespeare’s plays had to be content primarily with using the Moby™ Text, which reproduces a late-nineteenth century version of the plays. What is the difference? Many ordinary readers assume that there is a single text for the plays: what Shakespeare wrote. But Shakespeare’s plays were not published the way modern novels or plays are published today: as a single, authoritative text. In some cases, the plays have come down to us in multiple published versions, represented by various Quartos (Qq) and by the great collection put together by his colleagues in 1623, called the First Folio (F). There are, for example, three very different versions of Hamlet, two of King Lear, Henry V, Romeo and Juliet, and others. Editors choose which version to use as their base text, and then amend that text with words, lines or speech prefixes from the other versions that, in their judgment, make for a better or more accurate text. Other editorial decisions involve choices about whether an unfamiliar word could be understood in light of other writings of the period or whether it should be changed; decisions about words that made it into Shakespeare’s text by accident through four hundred years of printings and misprinting; and even decisions based on cultural preference and taste. When the Moby™ Text was created, for example, it was deemed “improper” and “indecent” for Miranda to chastise Caliban for having attempted to rape her. (See The Tempest, 1.2: “Abhorred slave,/Which any print of goodness wilt not take,/Being capable of all ill! I pitied thee…”). All Shakespeare editors at the time took the speech away from her and gave it to her father, Prospero. The editors of the Moby™ Shakespeare produced their text long before scholars fully understood the proper grounds on which to make the thousands of decisions that Shakespeare editors face. The Folger Library Shakespeare Editions, on which the Folger Shakespeare texts depend, make this editorial process as nearly transparent as is possible, in contrast to older texts, like the Moby™, which hide editorial interventions. The reader of the Folger Shakespeare knows where the text has been altered because editorial interventions are signaled by square brackets (for example, from Othello: “ If she in chains of magic were not bound, ”), half-square brackets (for example, from Henry V: “With blood and sword and fire to win your right,”), or angle brackets (for example, from Hamlet: “O farewell, honest soldier. Who hath relieved/you?”). At any point in the text, you can hover your cursor over a bracket for more information. Because the Folger Shakespeare texts are edited in accord with twenty-first century knowledge about Shakespeare’s texts, the Folger here provides them to readers, scholars, teachers, actors, directors, and students, free of charge, confident of their quality as texts of the plays and pleased to be able to make this contribution to the study and enjoyment of Shakespeare. Synopsis In Love’s Labor’s Lost, the comedy centers on four young men who fall in love against their wills. The men, one of them the king of Navarre, pledge to study for three years, avoiding all contact with women. When the Princess of France arrives on a state visit, the king insists she and her ladies camp outside the court. Even so, each young man falls in love with one of the ladies. Meanwhile, Don Armado, a Spanish soldier, falls for a servant girl, Jacquenetta. Costard, an illiterate local, mixes up two letters he is to deliver, one from Armado to Jacquenetta and the other from Berowne, one of the king’s companions, to Rosaline, one of the French ladies. The men confess they are in love, and devise a pageant for the ladies, who set a trap for them by exchanging identifying markers. When word comes that the princess’s father is dead, the ladies reject the men’s proposals as rash and impose a year’s delay before any further wooing. Characters in the Play KING of Navarre, also known as Ferdinand BEROWNE LONGAVILLE lords attending the King DUMAINE The PRINCESS of France ROSALINE MARIA ladies attending the Princess KATHERINE BOYET, a lord attending the Princess ARMADO, the BRAGGART, also known as Don Adriano de Armado BOY, Armado’s PAGE, also known as MOTE JAQUENETTA, the WENCH COSTARD, the CLOWN or SWAIN DULL, the CONSTABLE HOLOFERNES, the PEDANT, or schoolmaster NATHANIEL, the CURATE FORESTER MONSIEUR MARCADE, a messenger from France Lords, Blackamoors, Musicians ACT 1 Scene 1 Enter Ferdinand, King of Navarre, Berowne, Longaville, and Dumaine. KING FTLN 0001 Let fame, that all hunt after in their lives, FTLN 0002 Live registered upon our brazen tombs, FTLN 0003 And then grace us in the disgrace of death, FTLN 0004 When, spite of cormorant devouring time, FTLN 0005 Th’ endeavor of this present breath may buy 5 FTLN 0006 That honor which shall bate his scythe’s keen edge FTLN 0007 And make us heirs of all eternity. FTLN 0008 Therefore, brave conquerors, for so you are FTLN 0009 That war against your own affections FTLN 0010 And the huge army of the world’s desires, 10 FTLN 0011 Our late edict shall strongly stand in force. FTLN 0012 Navarre shall be the wonder of the world; FTLN 0013 Our court shall be a little academe, FTLN 0014 Still and contemplative in living art. FTLN 0015 You three, Berowne, Dumaine, and Longaville, 15 FTLN 0016 Have sworn for three years’ term to live with me, FTLN 0017 My fellow scholars, and to keep those statutes FTLN 0018 That are recorded in this schedule here. He holds up a scroll. FTLN 0019 Your oaths are passed, and now subscribe your FTLN 0020 names, 20 FTLN 0021 That his own hand may strike his honor down 7 9 Love’s Labor’s Lost ACT 1. SC. 1 FTLN 0022 That violates the smallest branch herein. FTLN 0023 If you are armed to do as sworn to do, FTLN 0024 Subscribe to your deep oaths, and keep it too. LONGAVILLE FTLN 0025 I am resolved. ’Tis but a three years’ fast. 25 FTLN 0026 The mind shall banquet though the body pine. FTLN 0027 Fat paunches have lean pates, and dainty bits FTLN 0028 Make rich the ribs but bankrout quite the wits. He signs his name. DUMAINE FTLN 0029 My loving lord, Dumaine is mortified. FTLN 0030 The grosser manner of these world’s delights 30 FTLN 0031 He throws upon the gross world’s baser slaves. FTLN 0032 To love, to wealth, to pomp I pine and die, FTLN 0033 With all these living in philosophy. He signs his name. BEROWNE FTLN 0034 I can but say their protestation over. FTLN 0035 So much, dear liege, I have already sworn, 35 FTLN 0036 That is, to live and study here three years.
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